Demi Lovato- Unbroken Album Review

 

Album- Unbroken

Artist- Demi Lovato

Track 1- All Night Long (featuring Timbaland and Missy Elliot)                  

This up tempo dance number is the most party like, live it up song on this record. It shows that Lovato is still young and is a sassy lady, and the hook is really simple and light, exactly what you want in a pop number. Timbaland is great in keeping a nice steady beat that slightly propulsive going throughout the track, and his short vocal feature is a great call and response moment. Plus add the delicious Elliot vocal rap that pretty much can make any track and you have Lovato’s most commercial track but equally a catchy and pleasurable song that would indeed deserve success if it was released as a single.

4/5

Track 2- Who’s That Boy (featuring Dev)

This track features Lovato in a flirtatious mood and has a really cool backbeat that gives a chilled flavour to the song. The lyrics are highly clichéd put for a simple pop song this isn’t really much of a down point, and whilst vocally Lovato plays it safe throughout most of the song, if she had unleashed the power of her voice it might have distracted by mischievous nature of the song. The Dev feature is also just a nice sweet touch, not adding a lot to the track but giving a slight variation in tone.

3.5/5

Track 3- You’re My Only Shorty (featuring Iyaz)

This up tempo number is cool but also slightly annoying. Production wise the track keeps it pretty simple with the key point being a jingling background rhythm which definitely gives a fresh feeling to the track. Lyrically the song is just so so, but vocally Lovato is very good, downplaying the vocals in the verses which gives an extra punch to the chorus. The real issue though is the Iyaz feature. The singer is wasted as he just repeats the same line over and over again in the chorus, and it just makes you feel as if he could have done something else, even if the female male vocal combination does work.

2.5/5

Track 4- Together (featuring Jason Derulo)

This uplifting song is a cool slightly RnB tinged, powerful number that asks us to get along in the world. It’s a universal message that has been done many times, but it still has a sense of lyrical freshness within this track. The song is done in proper duet style, raising the idea of uniting with each other to another level, and both artists really bring the message of the track through vocally. The oh oh oh repetition is perhaps slightly annoying but is also really memorable, and the song is a little long but the simple clap like beat gives the track a minimal yet good, groovy feel.

3.5/5

Track 5- Lightweight

The vocal acapella key change that is a continual staple of the production of the track is a new sound to the album that is cool but at the same easy to get annoyed at. However this lessens when the clattering beats of the latter half of the song begin. Lovato really uses her voice well within this track as she gives the impression of being lightweight through the softness of her voice in the verses, although the chorus is perhaps a little over performed. It’s a bit of a downer after the relative upbeatness of the previous track. But its good in giving a moment of diversity and being a little more lyrically deep.

3/5

Track 6- Unbroken

The album’s title track is a quite dance orientated number that features an aggressive back beat, offering a great contrast to the former track and showing how Lovato can shift seamlessly in sound whilst still creating a coherent body of work. The slow lyrical stresses of the verses greatly contrast with the powerful, punchy chorus, and although this song is lyrically speaking of a relationship, it also has that sense of empowerment in being unbroken in any situation, and is a fitting album title in the wake of Lovato’s personal but highly publicised struggles. The track is also as equally aggressive and impressive vocally as it is production wise, and so is just all round delicious.

4/5

Track 7- Fix A Heart

This is one of the best tracks on the record in that it is lyrically smart, vocally great and highly simple production wise. In contrast to the up tempo nature of the previous track it is a pure and simple ballad, giving a good balance to the record. The production is piano led instrumentation with a subtle beat and powerful drum clashes in the chorus that don’t overpower the song but add to it. The layering of Lovato’s vocals in places is also a nice touch. And it is very much her vocals that make this track, with Lovato knowing exactly how to use her voice and conveying a true sense of vulnerability.

4.5/5

Track 8- Hold Up

This dancey pop number with just a hint of a rock flavouring is short, sweet number and one of my personal faves. Sure criminal antics mixed with love is about as original as the newest reality show. But it’s a really sweet sentiment that is really given a kick by Lovatos innocent vocal performance and the fast paced, dance orientated production. And it just that sense of a rush of first love, with a great pop hook.

4/5

Track 9- Mistake

The powerful fast paced beat driven intro of this track is a little bit misleading as this is more of a mid tempo offering. The lyrical quality is bit thin as a lovers mistake is just a bit bland, and the vocal performance is just a bit so so. The clattering drums and the guitar production in the tracks latter moments save it from being just a bad album filler track, but it might have been better to put a proper up tempo number in this slot.

2/5

Track 10- Give Your Heart A Break

One of Lovato’s best known tunes, this is a powerful dance pop ballad is one of those songs that you just have to listen to to really appreciate it. Its lyrical concept is great in giving a sense of love rather than heartbreak and playing with that idea of heartbreak. And the violins and guitars give an epic stadium feel to the track, whilst vocally the song really builds, and the slow lyrical stresses really give that sense of being in love.

4.5/5

Track 11- Skyscraper

The lead single off the album was Lovato’s big comeback single after her rehab troubles. And it perfectly encapsulates the artist and the album in being a song that is a pillar of strength. With simple production that really builds towards a crescendo booming chorus and a vocal performance that is so vulnerable and pure, this is an artist really laying herself on the line within her music.

5/5

Track 12- In Real Life

This is a cool lyrical song in that we all have that sense of dreaming but then crashing back down to reality, whether it’s in a relationship or other elements of life. However the production is just a little so so compared to the more tightly structured tracks on the album, and though youth is still a major factor of Lovato’s work as she is only young, this track still feels a little two young after the more mature work on this album.

2/5

Track 13- My Loves Like A Star

This light chilled out number is a sweet track co penned by James Morrison. It’s a simple track that evokes a sense of longlasting love and is given a fresh tone through Lovato’s youthful vocals. The chorus is perhaps a tad oversung but she really tries to get the sentiment of the song across with her voice, and the chilled, almost transient state inducing bit allows for a very cool atmosphere.

3.5/5

Track 14- For The Love Of A Daughter

This is a great final track to the album (ignoring the actual remix end) in that although it is a stereotypical ballad end it is the most emotional and deeply personal song on the album. Originally written for her last album but seen as too deeply personal at that time, it fits really well on this track and is produced in a great way, with a simple piano instrumentation leading into clashing drums and a flourish of electric guitar, elevating the power of Lovato’s vocals and the emotional intensity of the track. Whilst also being extremely personal, it is also a song that many people will be able to relate t. And Lovato just gets brownie points for being able to be this open and honest as an artist.

4/5

Track 15- Skyscraper (Wizz  Dumb Remix)

The remix version of Lovato’s big emotional hit is a nice album finish because the simple but consistent and strong new beat that Wizz Dumb uses gives the track a more chilled out freshness, and so it’s a nice song to listen to if you don’t want to get too invested in the emotion of the original track.

3.5/5

Final Review

A cohesive body of work that allowed Lovato to transition from teen Disney pop rock into an accomplished adult artist. And it is a perfect example of how out of great troubles can come some great works of art, and how music can be a great healing process.

7.5/10

Little Mix- DNA Album Review

Album- DNA

Artist- Little Mix

Little Mix were the first group to win the X Factor, and in the wake of their U.S deal with Columbia Records and their desire to bring back girl power, I decided to look at their debut and see if they will be the greatest girl group since the Spice Girls, which many have said they will be.

Track 1- Wings

It is simple to see why this was chosen as the lead single off the album. With a powerful uplifting message, well harmonised vocals in the chorus, great individual voices within the verse, and handclapping, toe tapping production, it is a great pop song that can easily become stuck in your head. And with such positivity in one track, it definitely has the sense of girl power that the group strive to express.

4/5

Track 2- DNA

This is a great second track in that, contrasting with the album opener, it shows a completely different side of the group, showing that they are a musically diverse band (hence why it was chosen as the albums second single). The nursery rhyme/hospital intro paves a nice way into the booming production. And whilst lyrically the song is quite simple it packs a punch vocally and production wise. And the dark moody atmosphere of the track taps in greatly to that dark essence that exists within a relationship. This distortion of band member Leigh-Anne Pinnock’s vocals in the final verse is also a nice twist, giving another worldly flavouring to the track.

4.5/5

 

Track 3- Change Your Life

This is the mid tempo uplifting power anthem that every girl group needs, and which Little Mix accomplish well. Produced by Spice Girls hitmaker Richard “Biff” Stannard, the production is powerful but never clouds the vocal prowess of the group, with the band being in perfect sync with each other on the chorus, giving a true sense of sisterhood. True, there are some small bad parts about the song, such as the repetition of Change Your Life which can become a little annoying and the spoken verse of member Leigh-Anne that sound a little strange, but it is still a great, uplifting song.

3.5/5

Track 4- Always Be Together

The first ballad of the album is a lyrically passionate song co penned by the hitmaker that is Ester Dean. And the songs message is a universal ideology of always being by your partners side. The girls give it their all and are as always vocally on point, and the chorus is very simple but at the same time very powerful. The production is also good but not to overpowering. The only issue I had with this track is that, being sung by such young girls as the band are, it feels a little disjointed and not as emotionally impactful as if a slightly older artist and sung it. But still a great track.

3.5/5

Track 5- Stereo Soldier

The drumbeat intro of this track gives a great sense of the song being military based, tying in with the idea of the girls having a Stereo Soldier superbly. It’s a fun and fresh track that contrasts excellently with the powerful balladry of the last track, and the booming production that continues throughout elevates the sense of fun love that is imbued within the track. The chorus is very simple and cool, whilst the post chorus gives a sense of power to the track. The final verse with it chorus like production and commanding vocal performance paves the way for a great end, and if you not head bopping at least by the end of this track then go see a doctor, there is something wrong with you.

4.5/5

Track 6- Pretend It’s Ok

This is probably the weakest track on the album. Whilst the mid to down tempo song isn’t terrible, it isn’t as lyrically astute, and it also not as astute production wise. A nice flourish is given in that the chorus is powerful but is not over sung, and the production highlights the message of the track in creating a sombre mood, but that doesn’t save this song from being weak.

2/5

Track 7- Turn Your Face

This piano driven ballad is a perfect example of pop balladry on fine form. The delicate vocal gives a true sense of vulnerability to the song, and lyrically the song is extremely passionate but also extremely honest. This song also works great in highlighting the individual voices of the band, showing that they all can indeed sing really well. If you don’t think this is a beautiful song, then again I beseech you to go to the doctor.

Track 8- We Are Who We Are

The album changes pace again with this uplifting, up tempo song that draws on the same ideas of Wings but perhaps does them just a little bit more openly. The production is a little bit clichéd and the chorus is something that has definitely been said by quite a few artists before. But if you ignore that this a fun song that has a freshness to it as vocally the girls seem to be invested in this track, which is great in that it shows they might be stars now but there still susceptible to the things that everyone feels.

3/5

Track 9- How Ya Doin?

The phone ringing intro is a great start to this very 90’s feeling track that gives a throwback to the girls childhood musical roots and gives a great edge of diversity to the record. The chorus is a simple lyrical brush off that is easily memorable, and the repetition of “never get back” is a nice twist to the song. The last moment of the track is a little clichéd, but that can be forgiven.

3.5/5

Track 10- Red Planet (featuring T-Boz)

The great electro guitar opening of this track earmarks it as quite an epic sounding song. And it again offers a sense of diversity to the album, with cool production and lyrical concepts that is different can slick. The T-Boz is also a nice twist, giving an interesting vocal that maybe doesn’t add a great deal but that makes a change from the girls vocals. They is also just a small hint of sexiness to this track I felt, perhaps in the way it is sung, and the rap talk vocal of Leigh Anne actually really work on this song compared to other tracks. An interesting musical piece.

4/5

Track 11- Going Nowhere

Another drop of diversity comes in the form of this acoustic down tempo track that embodies the mind of many girls in the world who have had to put up with layabout boyfriends. Co penned by girlband veteran Nicola Roberts (from Girls Aloud) it features cool and very on point cultural references (e.g. playing on the X Box) and the harmonies on the chorus are very well put together. It is also great through how Leigh Anne finally gets to show that she is a potentially good rapper, and member Jesy Nelson gets to throw in a bit of her beatboxing. It’s yet again another interesting song.

4/5

Track 12- Madhouse

The final track on the album is another diverse song, but this time the diversity is definitely brought about by the aggressive and dark production. Its perhaps not the best track to the end on but it makes a change from the usual ballad ends of so many albums, and theirs cool elements to this song such as the bridge which feels some creepy horror like production and hey hey ad libs that feature towards the latter half of the song.

3.5/5

Final Review

This is a great debut in that it is really diverse but at the same time feels cohesive. And in pretty much every track bar the odd exception you get a sense of the girls personalities, as well as a sense of the girls being really united. This is an album that will definitely see them on their way to being the next big girl group (although artwork needs improving).

8/10

Nicole Scherzinger- Killer Love Album Review

Album- Killer Love

Artist- Nicole Scherzinger

The lead singer of the former girl group The Pussycat Dolls was always seen as the centre of the group and a bit of an attention stealer. Indeed some questioned is they were a group. But in 2011 Scherzinger released her full debut, after a wait of many years and a shelving of the original product. But was it enough for solo success?

Track 1- Poison

The lead single off the album is a thumping club banger that features electro grooves and a feisty vocal from Scherzinger. The chorus is a simple line repetition that easily gets stuck in your head. But lyrically the track feels a little bit bland, and the production is cool but at the same time is a little frenzied. This gives a great energy to the track, but also is a little bit annoying. So whilst an ok track, probably not the best to choose as a lead single.

2.5/5

Track 2- Killer Love

The title track of the album keeps in the same club banging vein of the previous track, but this song is more cohesive and just much better, so we find the great producer RedOne back on form. Lyrically the song is intriguing, and the downplayed vocals of the pre chorus contrast greatly with the power and aggression on the chorus. The final verse is also very simply and nice, whilst the final verse give us the full force of Scherzinger’s vocals and features some great production choices, This should have been a single instead of poison.

3.5/5

Track 3- Don’t Hold Your Breath

This is a slice of slick, stylish pop at its best. The slow building introduction makes for a great impact of the booming chorus in which Scherzinger declares “Don’t Hold Your Breath”. And it is an album for the heartbroken of the world in that the delicate vocals of the chorus combined with the lyrical vulnerability give a true sense of hurt, whilst the pounding chorus with its aggressive back beat and powerful vocal and lyrical exclamation gives an empowering message that Scherzinger can move on, so can you. It is easy to see why this was her first solo UK number one.

5/5

Track 4- Right There

In contrast to the heartfelt nature of Don’t Hold Your Breath, this Ester Dean co penned track is very lyrically suggestive and presents a naughty side to Scherzinger’s personality.  The song features breezy production that gives a slight RnB flavour to the track, and Scherzinger’s breezy vocals give an exotic flavouring to the track with the slight Hawaiian accent, showing us her roots. The audience calling final verse is also a good twist in the song. The probably is that this song feels very safe in the day and age where we have songs like Rihanna’s Rude Boy, so some might just not really enjoy this song.

3.5/5

Track 5- You Will Be Loved

The positives of this track are that it offers a nice change of pace within the record as a whole, it features Scherzinger being vocally on point and giving a nice softness to the track, and its got a little bit of good production. However, the negatives are that the back beat feels a little bit harsh for this type of track, the chorus can get annoying through over repetition, and the yodelling intro is just plain weird. So it’s one of those songs you might like or might just want to skip.

2.5/5

Track 6- Wet

This club banging track is great. It brings the record back to form with simple lyrical content that features a lush, sexual pop hook. And the booming production is grand, complimenting Scherzinger’s vocals well as she subtly gives us all her sensuousness in the verses and the bombasts us with force in the chorus.

4/5

Track 7- Say Yes

This aggressive beat filled track could have been a sombre down tempo track but here is given a great dance fuelled production that gives a nice twist to the song. It’s a little bit annoying with the repetition of the title and doesn’t feel as solidly produced as some of the other songs on this record, but nevertheless it is an interesting pop song with a good vocal performance.

3/5

Track 8- Club Banger Nation

The la la la choral vocal introduction on this track, along with the exclamation of “Club Banger Nation can you feel it” and “this is for my Club Banger Nation” marks this as the most  dancey and club ready track on the album. But whilst the production is a cool mix of electro guitar and powerful drumbeats, vocally the track is a bit disjointed, with the verses being nice and breezy but the chorus being weird as the vocals are layered and the accent Scherzinger employs is a bit unnecessary. Its another enjoy it or don’t song unfortunately.

2.5/5

Track 9- Power’s Out (featuring Sting)

After the very dancey nature of the first half of the album we enter into the ballad territory with this track. But this is a great track to enter territory with. The vocal pairing of the soft vocals of Scherzinger and Sting is genius, and whilst lyrically it is heavily clichéd, it is still a sweet sentiment overall that many will identify with. The production is also simple, perhaps a little overpowering in the chorus but still elevating the message of the track. The vocal capabilities of the two artists is also really shown in the latter half of the track, and the simple piano ending is a nice touch.

4/5

Track 10- Desperate

This slightly mid tempo ballady song is kind of good but kind of dull at the same time. Vocally Scherzinger does indeed same vulnerable and desperate, and she unleashes the power that hides within her voice well within the chorus, without being overpowering. But lyrically it is just a little bit dull and production wise it feels as if the producer isn’t even trying. So very much the weakest track on this record.

2/5

Track 11- Everybody

The electro guitar production of this track is great and much better than the last track, with the thumping drum beat giving a great sense of force to the track. The simple chorus line gives universality to the track, and the delicacy of Scherzinger’s voice really comes through in this track.

3.5/5

Track 12- Heartbeat (Rudi Wells Open Heart Remix) (Enrique Iglesias featuring Nicole Scherzinger)

This track originally featured on Iglesias’ first bilingual album “Euphoria”. Whilst this remixed version still holds the same loving sentimentality of the original and is still quite down tempo, it features a much harder back beat that brings the song into dance floor territory. It’s an alright remix but not that fresh, and in this sense just feels like it’s a tag on on the album just to flesh it out. Which is sad.

3/5

Track 13- Casualty

This powerful ballad is a great mix of forceful production and vocal melodrama. Scherzinger gives her most monstrous vocal on the record, and the lyrics are a little bit blaze but are helped by a booming production value that gives the ballad a kick and makes it a little bit more memorable.

3.5/5

Track 14- AmenJena

This final ballad is a bit of a stereotypical end but is great in that it showcases a truly vulnerable side to Scherzinger, with the production being kept to the minimum of piano instrumentation and letting Scherzinger’s voice doing the talking. It is beautifully composed lyrically and production wise, and the only issue is that the song is dragged out a bit too long.

3.5/5

Final Review

This is a good debut in that it is vocally great and features some very nice songs. There are issues though in that in some places it feels as if she is just singing the songs rather than investing herself in the music, and the album suffers because of the dance first half then ballady second half format. An assure and very good debut that shows that Scherzinger will make it as a solo artist, but with points to improve on for her second album.

6.5/10

The Saturdays- Chasing Lights Album Review

Album- Chasing Lights

Artist- The Saturdays

In 2008 the UK was introduced to The Saturdays, a girl band who filled the Sugababes, Girls Aloud gap in the market and in the public’s hearts. Today these girls have continued to have a great career, and are looking for success in America as well. Here I take a look back at their UK debut album.

Track 1- If This Is Love

This first single is a very poppy number that sits in the middle of up tempo and mid tempo. It’s a light fluffy track that features good harmonies and introduces them firmly as a pop act. The final chorus is also great vocally through the use of ad libs and vocal gymnastics, mainly through band member Vanessa White. The production is also simple but cool, giving a great backbeat that gives a slight elevation to the force of their vocals.

3.5/5

Track 2- Up

One of their most memorable songs, this dancey number is a great track. Production wise it is great in that it features a simple continual electro back beat that makes the song instantly recognisable. The chorus is fast paced lyrically and vocally, giving a sense of intensity to the track and highlighting that it is a fun song. The only issue is that vocals are dominated by two members of the band, so it can perhaps feel as if they maybe aren’t as tight a group.

4/5

Track 3- Keep Her

The electronic, frenzied production of this track gives a great sense of bitterness to the song that helps to boost the lyrics of the song and its message. Vocally the group also shows a great sense of bitterness, with the verse being more subtly bitter to give an extra kick to the well harmonised chorus. The track also ends just in time, not being too short but not too long.

3.5/5

Track 4- Issues

The first down tempo song on the record is a quite acoustic ballad that contrasts nicely with the sonic production of the previous tracks. The song is a simple love song that showcases a more vulnerable side of the band and gives a delicacy to their vocals. The chorus is also simply constructed so that it is easily memorable, and the final chorus is powerful through again Whites vocals.

4/5

Track 5- Lies

This is another track that plays to their pop sensibilities and melds their vocals together well. But it feels like a slight rehash of Keep Her, with just different lyrics and a more down tempo beat, and so because of this the track loses its sense of freshness, suggesting to the listener that they are a mere one trick band.

2.5/5

Track 6- Work

This up tempo track is a very dancey number that is great in that it showcases not only a rock hard, feisty edge to the band but also showcases their individual voices well. The simple vocals of the verses contrasts well with the fast paced collective vocals of the chorus, with the “ready set go” pre chorus emphasising that this is a fun, shake yourself out number.

4/5

Track 7- Chasing Lights

This ballad, the album’s title track, is one of the best on the record in that it is so simple but this is where its beauty lies. And lyrically it is interesting, giving a sense of relationship tug of war, which is enhanced by the vocal. The only issue is that member Vanessa White vocally dominates this track throughout every second. This might be seen as bad as they are meant to be a band. However, it could also be simply seen as showcasing that they know that White is the best singer.

4/5

Track 8- Set Me Off

The acoustic guitar intro of this track sets the pace of this number. But then the more poppy electronic production gives a nice sense of the band being certain of what their sound is. The chorus does indeed give a sense of being set off in love when contrasted with the downplayed verses, with the final verse giving a great energy to the track through the slight distortion of band member Una Healy’s vocals.

3.5/5

Track 9- Fall

The piano instrumentation of this track marks this as the most vulnerable song on the album, and it is a song in which the band vocals convey the songs message, with production being minimal. It is also a good song in that it plays to the strengths of the band and allows the more vocally capable of the band to come to the fore (although they can all sing well). The collective vocal of the word “fall” near the end of the track also gives a great sense of openness to the track and shows that they are a solid collective, and the final note giving a simplistic emotional end.

3.5/5

Track 10- Vulnerable

Featuring a more acoustic type of production than other songs on this record, this is a great track in that their voices really come together in the chorus. The verses give a sense of lightness to the track despite the subject matter, and they showcase individual voices well. The final verse is given power by the vocals of Vanessa White, whilst the final line of the song is given a great vulnerable sense through the delicate vocal of member Mollie King.

3.5/5

Track 11- Why Me, Why Now

The final proper song on the album is a little bit of a sad end as it is one of the weakest tracks on the album. The mid tempo setting seems a bit disjointed as an albums end, and the lyrics and vocals are just a bit bland. Should have perhaps just been left in the studio or released as a b side.

2.5/5

Track 12- Up (Wideboys Remix Edit)

This remixed version of the single up gives a punchy end to the album and gives a more up tempo, fast paced nature to the track which is a nice change. It is just a shame that the album ahs to end on a good remix rather than a good original song.

3.5/5

Final Review

With this album The Saturdays showed that whilst they were never going to be a groundbreaking pop act, they very much knew who they were as band in terms of style and sound, and with great vocals, assured production and some interesting but simple lyrical content, they established there place firmly in the music market.

7/10

Hunter Hayes- Hunter Hayes Album Review

Album- Hunter Hayes

Artist- Hunter Hayes

Hunter Hayes is like country music Justin Bieber: young, fresh faced, and everyone seems to love him.  And with his self-titled debut, Hayes embraces this:

Track 1-Storm Warning

The albums opener is a country stormer that opens with a kind of line dancing production that is maintained throughout and firmly places Hayes as a country artist, although this can already be observed simply through his tone of voice. The guitar driven production gives a great power to the track, and the lyrically fast pace gives that sense of a flash of love, whilst highlighting how Hayes is lyrically smart. The track loses a little of its power towards the end, but this is minimal so can be forgiven.

4/5

Track 2- Wanted

This is seen as the breakout track for Hayes, and it is easy to see why. The song is very simply composed, with minimal piano and guitar led production at the songs beginning that transitions into a powerful drum back beat. This works great in not only allowing Hayes’ vocals to shine through, in which a great delicacy is observed. But it also allows the simple message of the song to shine through, with Hayes truly conveying to the listener that he does indeed want them. Lyrically the song is also like the production simply constructed but equally powerful.

5/5

Track 3- If You Told Me To

The acoustic guitar production gives a nice, sweet pace to the track, helped by a simple drum back beat. It could have easily been a rehash of the former track, but the slightly more up tempo nature of the track elevates it into different territory, even if lyrically the song holds a very similar sentiment. Vocally the track also great in that it never stretches beyond Hayes’ limits and keeps it very simple, allowing for the simple nature of the songs message to be heard by the listener.

4/5

Track 4- Love Makes Me

This up tempo track is marked in the introduction by a fast paced guitar production. And it gives nice change of pace, although lyrically and vocally the song is quite similar to the former tracks, so it loses that sense of freshness. However towards the end of the song Hayes stretches his voice a bit and shows that he does have power in his voice.

3.5/5

Track 5- Faith to Fall Back On

Lyrically the song is interesting in that it isn’t focused completely on the notion of love, yet is still universal. However the production is a little bit too similar for my taste, and vocally it is a little too similar as well, but also not as powerful, as if Hayes is perhaps not as invested in the track , although the vocal ad libs at the end make up for this a bit, and the chorus like vocal near the end is a nice twist.

3/5

Track 6- Somebody’s Heartbreak

This is a great song in that it is almost like a melding of the best parts of Wanted and Storm Warning. The plunky guitar rhythm sets up a nice chilled, head bobbing pace, whilst lyrically the chorus invokes the sentiment of Wanted without being a dull ballady rehash. The little bit of the electric guitar towards the latter parts of the song also gives a freshness to Haye’s music, and vocally he never over uses his voice, showcasing that he knows what he is doing and conveying that he does want you to be his heartbreak.

4.5/5

Track 7- Rainy Season

This a nice change of pace from the mid tempo nature of the last track. And the cool stop and start production of the beginning of the track gives a slight soul edge to this song, which gives the album a little flourish of musical diversity. The layering of his vocals in places gives a sense of deepness to the track, and he keeps the song lyrically simple but effective. The guitar solo in the middle section is also a cool twist that gives a sense of power to the track and uplifts the powerful vocal of the chorus that follows. The only problem is that at five minutes Hayes stretches the song on for just a little too long.

3.5/5

Track 8- Cry With You               

This track is more of country ballad than the previous track, and has a greater sense of emotional depth. The chorus is very powerful and is emotionally invested, contrasting well with the delicacy of the verses.  The only issue is that in terms of production the song is very similar to Hayes’ other work, and so by this point in the album you might get a little bored with Hayes sound.

4/5

Track 9- Everybody’s Got Somebody But Me

The simple short nature of this track gives a cute quality to the song. And the song is great for all those lonely hearted people who are sick of the relationships around them. Its sweet and gives a nice change of pace from the balladry of the former tracks, even if it is just a little samey.

3.5/5

Track 10- What You Gonna Do

The simple production of the track featuring a minimal acoustic guitar allows the delicacy of Hayes’ message to come through. Vocally it is very simple, highlighting how Hayes doesn’t want his girl to move on.  But by this point you feel that Hayes needs to stop and maybe go create some songs that don’t sound so very similar to each other, and maybe a little more up tempo.

3/5

Track 11- More Than I Should

Finally Hayes gets into up tempo setting, lifting this album from being a boring last half album. Vocally and production wise it has a sense of danger to it, highlighting the message of the song. The only issue is that the electric guitar comes out again. This was interesting when it was used the first time, but then after being used in quite a few songs it feels like a waste of time, as if the producers just think you always need it. Which we don’t.

3/5

Track 12- All You Ever

This is a nice end to the album in that it is a simple country ballad that in a way feels kind of timeless. It has that powerful chorus and that simple production, but it’s a nice sentiment that many people will relate to. And even if it is exactly the same as many of his songs, it’s still good because he gives it a sense of strength. Just wish the guitar would go now, seriously.

3.5/5

Final Review

Hayes is a great lyrical composer and is an artist that those who he is and what sound he wants. But whilst this gives an assured debut, it means that his songs sound too similar, leaving the second half lacking the sense of spark of the first. So a good album, but Hayes needs to diversify a little, and please don’t feel the need to put an electric guitar into so many songs, you’re not a rock star.

6.5/10

Taylor Swift- Red Album Review

Album- Red

Artist- Taylor Swift

Taylor Swift has already become one of the most celebrated and successful artists of all time, and yet her career has so many steps to take. Here I take a look at her highly anticipated fourth studio album that was a one week million seller in America, seeing whether she has bested her last studio album and whether she is really worth all the hype.

Track 1- State of Grace

The first track on the album is a greater opener because it has an epic, stadium like sound to it. This is most prominently produced by the incessant drum beats throughout the track which give a powerful kick to the song and presents a different musical style for Swift. Its also nice in that, based on the lyrics, this could have been a slow number, but with the rock style production a different, interesting layer is added to Ms Swift’s work.

4/5

Track 2- Red

The plunky guitar intro of this song signals that this is Swift at her country best, showing fans of her music that she is evolving but is always going to be the artist she was before as well. Lyrically the song isn’t as good as some of Swift’s other work. Although the love and colour concept is interesting it feels bland in the way it is addressed. But the power within the chorus production wise gives an essence of force to the song, and the little electro background of the recurring “R r r red” red refrain gives a nice modern twist to the track.

3.5/5

Track 3- Treacherous

A soft down tempo song co penned and produced by Dan Wilson, this is a great song in that it is simple but really intricate and nice. It also contains one of my favourite lyrics “like all we are is skin and bone, trained to get along”. This song perfectly highlights how through her song writing Swift is able to capture the human spirit and bottle it up into great songs. And it also gives a sense of her having lived life, despite being only 22 years young.

4/5

Track 4- I Knew You Were Trouble

The first of the Max Martin collabs on the album presents a great change of pace to the album and a great, different sound for swift. A pop song with just a light dusting of dubstep, Swift gets a little more feisty on this track, and the booming chorus drop makes for a great intensity to the track. Great for anyone who has been scorned in life and knew they would be, and production wise a brilliant song as Martin knows exactly when to add power to Swifts lyrics and voice.

4.5/5

Track 5- All Too Well

This slow burner of a number with its incessant drum beat is typical, confessional Swift at her best, being lyrically sharp and smart. However, in interviews Swift has said the song could have been like 10 minutes long. Even in this over 5 minute state it is still a little too long, and so by the end you may get little bored of it.

3.5/5

Track 6- 22

The poppiest track on the album is a fun filled celebration of life and is a very up tempo, dance around in your room moment on the record. The only issue of this track is that you might feel excluded if you’re not 22, but if you’re not bothered then just embrace the pop fun and goodness of this track in which Swift tangibly conveys a great sense of joy through her vocals as well as a simple but great pop chorus.

4.5/5

Track 7- I Almost Do

The poppy nature of the last track is perfectly contrasted with the slow country balladry of this track in which Swift speaks about thinking of a former love. It’s very much recognisable as your typical Taylor Swift, but is great in that, through all the aspects of the song, she gives a voice to the many girls around the world who have contemplated speaking to an ex and stirring up old feelings and have almost done it. And she also layers the track with a true sense of vulnerability, with the production not being too overpowering.

4/5

Track 8- We Are Never Ever Getting Back Together

This was the first single off the album and was seen by many as Swift’s full transition into pop, although it did well in the country market. No matter what genre this is, this is just a great track. This has to be because the hook is so simple and straightforward that it gets stuck in your head so easily, and you have to sing along to it. The small touches are also great to, like the talking to a friend moment just before the end and the clever lyrics such as “with some indie record that’s much cooler than mine”. It unashamedly cheesy, awesome pop at its best.

5/5

Track 9- Stay Stay Stay

Another light and fun track, but this time a lot more country, this track is a little bit bland in the wake of We Are Never. And it is perhaps the weakest track on the album in that it is not as lyrically astute as some of Swifts other work. But the chorus is quite catchy through its fast paced simple nature.

3/5

Track 10- The Last Time (featuring Gary Lightbody of Snow Patrol)

This song is awesome, but maybe not in the way it should be. This is because while the pairing of their voices is great, and the song is definitely given more depth as a duet, Lightbody seems to have a more commanding, vulnerable presence within the song, and so this isn’t good considering it is meant to be a Swift song. Still, if one ignores this, this is definitely a lush track that is uniquely more vulnerable than any of Swifts previous work.

4/5

Track 11- Holy Ground

A fast paced, slightly rock edged song, this is a good song in that it gives a nice change of pace to the album. The contrast of the full throttle verses and the slow, simple chorus gives a great flavour to the track, and the continual background vocals of “oh way” is a nice touch. Not the greatest track, but it’s good to see that production wise Swift is pushing herself.

3/5

Track 12- Sad Beautiful Tragic

This is the saddest, most delicate track on the record. The gentle piano and guitar instrumentation throughout the track compliments Swifts delicate vocals well. And  it is great that in three simple words Swift conjures up an immediate impression of her former relationship for her listener. The lamenting sounds before the final verse gives a great sense of melodrama to the song, and its different from Swifts other down tempo music in that it isn’t easily ear marked as a country ballad.

3.5/5

Track 13- The Lucky One

A little more mid tempo than the last track, this is a retrospective track from the point of view of a star that has to suffer through great attention placed upon them. It gives the listener insight into Swifts opinion into media and the culture of celebrity, providing a nice change from her usual romantic state.  The only issue with this track is that the repeated refrain may get annoying combined with a sense of the songs final minute not having that dramatic power we expect of Swift

3/5

Track 14- Everything Has Changed (featuring Ed Sheeran)

This collaboration seems like an obvious one as these artists share the same sensibilities. And it’s a sweet ballad that does give the sense of these two artists being in a relationship, even though they are not. The combining of their voices also elevates the track, as this could have been a boring track with only Swifts voice. However unlike the Lightbody duet, Swift has much more of a vocal presence, which makes the song more firmly hers. The final verse also packs a punch vocally, and the delicacy of the final pre chorus emphasises the message of everything changing.

3.5/5

Track 15- Starlight

A more up tempo track than the previous songs, this track offers a nice change of pace. It is also conceptually intriguing in that it wasn’t inspired by a Swift relationship but by an old photo of a couple. With a powerful chorus and a lyrical innocence, this is the fist bumping number of the album and an instant Taylor Swift classic.

4/5

Track 16- Begin Again

The closing track on the album is a slow burning ballad that is very simplistic in every aspect, and because of this the message of finding love again is very much brought to the fore of the track. It’s a nice end to the album in that it gives a sense of hope to the listener and shows that whilst Swift has been burnt she still believes in love. And it’s a signifier of why we love Swift: she is confessional and emotional, imbuing her songs with a sense of them being part of her diary.

4.5/5

Final Review  

Whilst not as cohesive as her other work, like many other listeners of this album I find myself commending Swift for pushing her musical boundaries and producing some great songs in the process, whilst remaining true to her roots. And even though there is an essence of a life lived and maturity on this record, there is also a sense of lightness and freshness, reminding us the Swift is still only 22 years young with a lot more growing up to do.

One Direction- Take Me Home Album Review

Album- Take Me Home

Artist- One Direction

One Direction were the pop juggernauts of 2012, and this album secured them a place in music history. But are One Direction really worth all the success that they have? I take a listen to their album and analyse if that is a yes to that question:

Track 1- Live While We’re Young

The frothy, poppy opener to the album is a jump up and down number that is very throwaway pop. And whilst high energy, it feels like a little bit of a rehash of What Makes You Beautiful, so isn’t as good as some of their other songs.

3/5

Track 2- Kiss You

The main collaborators with One Direction, Rami Yacoub and Carl Falk, have described the making of the tracks as making vanilla music. This is definitely one of the most vanilla songs on the album, but it is also one of the best. Like the former track it is light, frothy and fun, but this one seems to be more structurally and vocally secure, with the contrast of the fast paced verses and simple, powerful chorus providing a great energy to the track. And the chorus is one that can easily get stuck in your head. A great track.

4/5

Track 3- Little Things

This simple acoustic ballad presents a softer side of One Direction and is easily catered towards all their female fans who wish they were there girlfriend. The Ed Sheeran penned song is lyrically simple and effective, conjuring up a true sense of love. And the vocal harmonies of the group are tight, whilst individual voices are showcased well. The only downside for me was that this very much felt like an Ed Sheeran song sung by One Direction, rather than a One Direction song, albeit a slightly more pop edge is observed.

3.5/5

Track 4- C’mon C’mon

The thumping bass beat of this track is a nice transition of pace from the previous track. Lyrically it is not that interesting, but the production of the track gives a power to the message, and the verses and chorus contrast well with each other. A song you can easily skip or easily indulge in.

2.5/5

Track 5- Last First Kiss

The acoustic setting of the verses of this track give a great sense of power to the chorus, with this power also being aided by the use of a simple, continual and harsh drumbeat. The first song which lyrically the band helper with , it is suited well to their pop sensibilities, and a sense of vulnerability can be observed through the arrangement of the song as well as vocally. The oohs within the chorus also add a nice flourish to the song.

3.5/5

Track 6- Heart Attack

This is another fun and silly pop song that isn’t ground-breaking in the slightest. And in a way it loses some of its spark by being a little bit too similar to previous tracks on the album. It is still a good song, they could just do better, although little flourishes like the ow in the chorus give a nice touch to the song.

3/5

Track 7- Rock Me

This Lukasz Gottwald produced track is great in that production wise it presents a different sound from the pop rocky stuff of the previous songs (ironic when the song is called Rock Me). The production gives a sense of Queens We Are The Champions to the song, although that is not to say that this song is in the same league as that song. The repetition of the songs title is a little annoying, and the vocals could be better, but kudos to the band for producing something a bit sonically different, even if lyrically it is just the same.

3/5

Track 8- Change My Mind

With this track we find One Direction in acoustic mode again. And its nice in that it’s a little bit of a pace changer and gives them a sense of vulnerability. However, the chorus isn’t as powerful as previous tracks, and whilst vocally they are on point, it lacks a sense of proper emotional depth, although the boys give this a damn good try. Yet the song is good in that it builds well, with the final chorus actually showing that they aren’t always a boy band fluffy piece.

3/5

Track 9- I Would

Helmed by fellow boybanders Mcfly, this is just another One Direction track lyrically and does feel like a bit of a McFly cast off, which Mcfly have been accused of. However, yet again that band are saved a little bit by some good, crowd pleasing production, with the drumbeats and guitar strumming intro giving a fast paced intensity to the song. The whistling within the second verse is also a nice touch, although a bit too predictable in an era where whistling features in quite a few songs (e.g. Moves Like Jagger anyone).

2.5/5

Track 10- Over Again

This just sounds too similar to the other acoustic, down tempo numbers on the record it made me really annoyed. But what’s worse in that it actually feels blander than those other tracks, as if the band isn’t actually invested in it. The only thing I noticed was that you can here there accents. And if that’s what I was paying attention to, then this is not a good song.

0.5/5

Track 11- Back For You

Al I can say about this song is that one direction need to stop making songs that sound so similar to each other and start adding some diversity to their records, please!!!!!!!!!!!!!!

1/5

Track 12- They Don’t Know About Us

The piano introduction is a nice twist, but then the song just falls into the same territory, with the band yet again being saved by some good production value. And I just find myself asking why at this point. Cause they can sing, and they must have some good music taste, I mean there is five of them!!!!!!

1/5

Track 13- Summer Love  

The idea of summer love is a nice sentiment that makes this track quite enjoyable, even if it’s just another song that again sounds similar. Vocals also good, so track not as bad as some of the others.

2/5

Final Review

It’s easy to see why millions of girls all over the world love One Direction: they are primarily catered for that demographic. But from a critical point of view, whilst the band does produce some great pure pop songs, they need to create a more diverse sound that doesn’t make you want to switch off the album half way through because the rest is just the same and sounds like it should be B side material in that respect. So I say to One Direction- next time don’t rush between albums and cultivate your art to get the best out of yourselves, because you are good.